FILM PRODUCTION (Part 1)

Production Phases
There are three phases of production common to most professionally produced motion pictures. These are:
• Preproduction phase
• Production phase
• Postproduction phase
• In general, the preproduction phase encompasses all aspects of preparation that are performed before the camera starts to roll. Some aspects of preproduction include:
• Storyboarding
• Screenwriting
• Funding
• Assembling a crew
• Casting
• Costume Design
• Location Scouting
• Set Design
• Properties (“props”)
• Scheduling
 Screenplay/Script: The screenplay supplies the general plan for the production of a film. There are two types:

• The “spec” script
• The “shooting” script
Preproduction Phase
 The “Spec” (Speculation) Script is the version of a screenplay that writers distribute to producers in the hope that it will be “optioned” (i.e. considered for production). It primarily contains:
• Slug-Line (brief description of the setting, e.g. “INT. ROOM – DAY” which means the interior of a room during the day)
• Business (descriptions of characters/action)
• Dialog (the lines intended to be spoken by the actors)
 The Shooting Script is a much more detailed version of the spec script that includes numbered scenes, specific camera angles and other technical information. An example of a page from a shooting script (from the film Pieces by Andrew Halasz shot here at William Paterson) can be seen on the next slide.
 Writing a screenplay and analyzing a film narrative require an awareness of similar concepts:
• Character
• Conflict
• Action
• Story
• Plot
 Character
• Agent of physical and social action
• Subject to physical and social action
• Subject to needs and desires
• Subject to social norms, mores, and laws
 In an instructional book on screenwriting, Syd Field (1979) divides character into interior and exterior aspects. Viewers of a film don’t have access to the character’s interior life and so it must be expressed in the exterior life through actions taken in professional, personal, and private contexts. One pursuit of narrative analysis is the interpretation of character motives based on action.
 Conflict
• The source of narrative conflict is the needs and desires of the character when they are met with oppositional forces. There are three basic types of narrative conflict:
 Character versus Nature (i.e. the physical world)
 Character versus Character
 Character versus Self
 Action
• In a film narrative, a character is expressed through his/her actions in responding to a conflict. Two overlapping types of character action are:
 Social Action (e.g. dialog, communicative behavior)
 Physical Action (e.g. stunts, athletic behavior)

 Storyboarding: A storyboard is a series of drawings intended to represent how the film will be shot, including how each frame will be composed and how subject and camera motion will occur.
• The storyboard articulates the mise-en-scene of the film.
• Mise-en-scene: All of the elements that compose the shot.
 Funding: Films are generally expensive to produce. Even small independent productions with unknown actors can cost hundreds of thousands of dollars. Because of the level of investment involved, most films rely on either production companies (“Hollywood” films) or independent investors (“Independent” films).
 Assembling a Crew: A crew is the group of workers on a film set who are responsible for facilitating production (as opposed to acting). Although large productions may employ many crew members in many different departments, there are only a few basic positions which are detailed later in the production phase.
 Casting: Choosing actors to play roles.
 Costume Design: Choosing or designing the clothing/costumes that the actors wear.
 Location Scouting: Choosing the locations where the film will be shot.
 Set Design: Constructing sets where the film will be shot.
 Properties (“Props”): Choosing the tools and objects used in the film.
 Scheduling: Coordinating all aspects necessary to the production.
 The production phase refers to the period of time when the film is actually being shot. Some aspects of production include:
• Direction
• Camera operation
• Lighting
• Sound recording
• Acting

FILM STRUCTURE

Elements of Film Structure
• Structure—The audio-visual design of the film and the tools needed to create that design: camera, lighting, set, performance, editing, sound.
• Content—The story, theme, and characterizations.
The Film-making Process
Pre-production Production Post-production
Script (optioning, writing, revisions Filming & Sound recording of scenes Editing of sound & film
Hiring of cast and crew Music scoring Foley recording (sound effects)
Design of sets/costumes ADR (automated dialogue replacement)
Planning of cinematography Digital Effects
Rehearsals Lab work and release of prints
The director—coordinates and organizes the work of the cast and crew.

The producer—has administrative control over budget and schedule.

Time components of film
• Running time—the full duration of a film. (Feature films are generally 90-120 minutes.)

• Story time—the amount of time the plot covers. (Could be hours or centuries.)
• Internal structural time—the tempo of a film, which is affected by length of shots and editing of film.

• A shot is the time occurring between the camera being turned on and shut off.
Spatial components
• Frame—the projected area on screen, but also an individual image on a strip of film.

• Camera positioning—
– Long shot (often used as an establishing shot)
– Medium shot
– Close-up (may be used to show expressions)
• Camera angles
– Low (used to make figures appear to tower)
– Medium (eye-level views)
– High (used to diminish subjects in size)
– Canted angle (gives an off-kilter effect)

Angles must be used in context with scenes.
Low angle
Medium Angle
• Focal length—the distance between the film and optical center of the camera’s lens.
– Normal range lens is 50mm
– Telephoto lens has greater focal length
– Wide-angle lens has shorter focal length
– Zoom lens
• Depth of field—the amount of area from near to far that will remain in focus. (Wide-angles have greater depth of field than telephotos.)
• Camera Movement
– Pan and tilt
– Dolly or tracking
– Boom or crane
– Steadicam

• Motion perspective—the changing distances of framed objects due to the motion of a moving camera, such as one with a zoom lens.
The Dolly Shot
The Zoom
Panning
Creative choices
• Flashing—exposing film to a small amount of prior to filming in order to mute color and shadows.

• ENR (Ernesto N. Rico)—a developing process that makes shadows darker and edges crisper.
Perception of film
• Perceptual transformation—the ability of the camera to show things in a way that differs from human visual perception.

• Perceptual correspondence—the camera showing things in a way common with visual perception

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TV PRODUCTION STAGES

Production Stages
Preproduction Planning
program idea, model and approach production, budget and proposal.
Production Coordination
above and below the lino personnel. production tools, schedulling and factors of production.


Production Process
production meeting, schedulling, booking tool, logarithm information, publication and promotion, rehearsal and execution shooting.
Post prodution
editing, feedback and evaluation.

Personel production
1. Executive producer; responsible towards one or several programs. regulate budget and coordinating with client and station. ep have a duty supervised either through creative also technical television program production.
2. Producer; responsible towards one production activity. responsible towards all personel that in a programme program and co-ordinating technical and non technical production elements. sometimes to be director.
3. Production assistant; help produser and merector during production goes on. during rehearsal make notes director instruction.
4. Director, aim talent and technical production execution. responsibility predominantly translate draft is programme program that interesting. in little station television , director sometimes act also as producer.
5. Assistant director; help director during production goes on. in studio does task timing.
6. floor merector; responsible towards all activities related to studio floor. aim talent based on cue from director and supervise floor personel.
7. floor personel; help to composed sets. operate cue cards or prompting devices. help meleta portable field lighting. help operator camera (folds cable, push dolly etc)
8. creative and writer; have a duty to look for creative ideas and write program draft.
9. art merector; responsible towards aspect design creative from programme (set design and location, graphic)
10. graphics artist, prepare graphic computer, titles, tables and another graphic display.
11. make up artist; have a duty to make up talent
12. custome designer; design and make assorted costume. usually freelancer.
13. set and manager property; watch over and regulate use from assorted set and property. usually for big production.

Personel Technique
1. Technical producer; responsible towards all personel technique, budget and device. design sitem belong transmission facilities and watch over installation.
2. Broadcast support; help tp at all of technique affair and operational.
Personel Non Engineer
1. Technical merector; operate device treknik and ccu, watch over technique quality and act as technical crew chief.
2. Camera operator; operate camera and in show little come along to regulate lighting. in eng/efp usually called videographer or shooter.
3. Lighting person; responsible towards illumination
4. Operator video; operate vtr

Personel Production NEWS
1 News director; responsible at all of operation news and live.
2. producer; responsible directly towards election and message location in broadcasting so that be one unitary.
3. assignment editor; give task to reporter and videographer to one cover task.
4. Reporter; gather message, write it and mengemas be complete message. often do reporting on camera from location
5. Videographer/cameraman, take picture as according to message line that determined by produser.
6. Writer; write message draft to anchor/ message reader. that draft is written based on note from reporter and sedianya footage.
7. Editor; edit footage as according to note reporter, draft or instruction produser.
8. Anchor; presenter principal a message, usually from studio set.